This material has been produced to be used on the BTEC Level 3 Games Development Extended Diploma (formerly National Diploma) course delivery. This resource can be adapted and amended for other relevant courses.
9. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Semi Specific Avatar
•Only partially characterized
•Better to make cartoonish
•Common with action game avatars
•Mario
•Lara Croft
•“Beyond the bare facts of her
biography, her perfect vacuity
means we can make Lara
Croft into whoever we want
her to be.” – Steven Pool,
“Lara’s Story”
10. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Control Mechanisms
Indirect (“point and click”)
Doesn’t steer avatar, points to
where to go. Player as
disembodied guide friend
More likely specific avatar
Direct
Player steers avatar through
game world, doing a variety of
actions as necessary
More likely nonspecific or semi-
specific
14. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Defining Attributes
•Clothing, weapons, symbolic objects,
name
•Color palette reflects character’s
attitudes or emotional temperament
•Superman, upholder of “truth,
justice, and the American way”:
bright/cheery, American flag
•Batman, Dark Knight of Gotham
City (grittier, more run-down than
Metropolis): somber
15. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Side Kicks
•Most prominent common element in
game design
•Combine qualities (e.g. tough with cute)
to provide variety and comic relief
•Benefits
•Give player additional moves and
actions
•Extend emotional range of game
•Can give player information they
couldn’t get otherwise
16. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Story Driven Character Design
• Starting with the story behind the
character and developing his traits
and personality before considering
his appearance
• Character dimensionality
• Language & accent
• Developing believable characters
• Character growth
• Character archetypes
17. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Character Dimensionality
• Zero-dimensional
•May display only discrete emotional
states
• One-dimensional
•Have only a single variable to
characterize a changing feeling or
attitude
• Two-dimensional
•Have multiple non-conflicting
variables that express their impulses
• Three-dimensional
•Have multiple emotional states that
can produce conflicting impulses
18. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Language & Accent
• Key cue to character’s personality
›Vocabulary – age, social class, education
›Grammar and sentence construction –
education and class
›Accent – place of origin and social class
›Delivery (speed and tone) – excitement,
boredom, anxiety, suspicion, attitude or
emotional state
›Vocal quirks – distinguishing
• Sound effects also tell about personality
›Confirm player’s command
›Signal injury, damage, death
›Pitch describes
19. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Believable Characters
• Major characters need rich personalities
•Answer many questions about them
•Where was he/she born?
•What is his/her education?
•What are his/her favorite activities?
•What were his/her biggest triumphs in life?
•What are his/her interesting or important
possessions?
•Etc.
•Show through appearance, language, and
behavior
24. Story Development
Computer Games
Analysis//Theory//Production//ScriptWriting
Character Archetypes
• Hero
•Outer problem is aim of game
•Inner problem is flaw or dark
secret
• Mentor
•Guide character
• Higher self
•Hero as he aspires to be
• Ally
•Meant to aid the hero
• Shape shifter
• Form changer
• Threshold guardian
• Progress delayer
• Trickster
• Mischief maker
• Shadow
• Ultimate evil
• Herald
• Used to facilitate change in the
story